There are a few challenges to overcome to get this on a jr.
Alright.... I'll bite ETC....
- Thread starterPie4Weebl
- Start date
Lack of a separate lamp cap? What do you mean by that? The Jrs I've got all have removable lamp caps.
STEVETERRY
Well-Known Member
Spoken like a true career lamp manufacturer!
Actually, if you figure that the 300 hour HPL needs to be replaced on average 6.6 times more frequently than the 2000 hour HPL and the annual aggregate purchase from a big lamp manufacturer is only +/- 3-4% between the types, our conclusion must be that the overwhelming majority of sockets in the field are burning 2000 hour lamps.
Cheers
ST
At first glance, they already have an HPL replacement engine so it seems easy to just tweak the way the base attaches and throw it on a Jr, PAR or ParNel. But when you think about it, the path of how the light gets from the source to be out on stage is completely different in each fixture. Just the difference in diameter of the ellipsoidal reflector from a full size S4 and a Jr. could be enough to require massive amounts of redesign work. Figuring out how to adapt it to a PAR without the ellipsoidal reflector and the simple lens, could be vastly more complicated.
On the other hand, ETC is in the business of making money. If these sell well, and they think they can make money off of a Jr, PAR, and/or ParNel version it will happen.
AsherSB
Active Member
I think a LED junior would be best with LEDs built in, Maybe a ColorSource Jr with an ABS body and output comparable to a 300 watt conventional?
techieman33
Well-Known Member
They would have to build a bigger cap, and you would need a longer yolk to go with it.
I can see having an LED junior as a nice upgrade. I don't know that the LED par makes as much sense though. Assuming you keep the $599-$699 price point it doesn't make financial sense. At that point your already in the price range of the colorsource par or any of the other dozens of LED "par" fixtures. And your have the choice of color mixing or one of the various mixes of white light.
BillConnerFASTC
Well-Known Member
Thetechmanmac
Active Member
I feel as if a venue wants to go LED with S4WRD, they would want to put in color source pars as they are probably roughly going to be the same price after 4WRD goes up later. Not to mention being able to sell old pars to make a little bit of cash.
PS- It's pretty crazy this thread is up to 110 responses... I like it!
PS- It's pretty crazy this thread is up to 110 responses... I like it!
BillConnerFASTC
Well-Known Member
Well, I've used S4Pars for a lot more house lights than ever for production lighting, and the existing mains dimming is especially enticing for these. And for watt reduction, hard to imagine a better place to start than house lights. And since an S4 par plus a 4WRD is less expensive than most acceptable LED houselights, I can't help but wonder.
Another place I see S4WRD (or something like it) and PAR's is recessed concert shell lighting, architectural lighting, and other applications where they don't need color-mixing, don't want heat, they don't want "that LED array look" you get from Desires, Selador, and ColorSource in situations where the front end of the fixture is readily visible.
techieman33
Well-Known Member
It all depends on your needs. If you want lots of whites and pastels then a tungsten lamp will be superior, but if your going to use lots of saturated colors then the LED will probably at least match if not beat a s4 par. A lot of people would probably use a standard fresnel or s4 par for a white or pastel and then an LED right next to it for the saturated colors.
DELO72
Well-Known Member
Spoken like a true career lamp manufacturer!
Actually, if you figure that the 300 hour HPL needs to be replaced on average 6.6 times more frequently than the 2000 hour HPL and the annual aggregate purchase from a big lamp manufacturer is only +/- 3-4% between the types, our conclusion must be that the overwhelming majority of sockets in the field are burning 2000 hour lamps.
Cheers
ST
In this instance I was speaking as a lighting designer and Master Elec. of over 100 shows, not as the Mfn rep. I would never choose a Long Life lamp UNLESS it was for a venue that was running them at full all the time (Casinos/amusement parks), and maintenance costs was the absolute key factor. Otherwise, you are just limiting yourself and settling for 3000K instead of 3200k on the top end. Does it make sense for a casino running them 24/7 or a venue where they are hard to reach and require 4 people and a genie lift to swap out? Absolutely. But from a designer standpoint, I always prefer more options. And, once you start dimming them throughout their use/life in various cues and shows, the lifetime for each is all over the map.
Yes but I believe the source4 led series 2 (which is the equivalent to the chauvet ovation ed) is more $$. I dont think its fair to compare a full led fixture to a insturt for a traditional fixture. Of course the insert will be cheaper than a fixture designed for LED light. I went to a workshop from etc about their New lime LED fixtures and was very impressed how close they got to natural light, however I think the Ovation is just as good and cheaper than the series 2. However I think that I would go with the 4ward to do a retrofit, but if i was to be doing a compleat new system I would go with the Ovation.
BillConnerFASTC
Well-Known Member
Its interesting that the Robert Juliat LED units seem to be in demand in some segments and are just white. I'm not sure I'd want to choose - or have a choice made for me - and wonder if in a new system, some white and some color LED aren't OK. It seems that the white of the 4WRD is brighter and better white light (by which I mean is more like quartz, perversely) than what an ovation or series 2 produces. Just saying is it necessary to have just one? Just a bonus the barrels are interchangeable.
